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Our cameras recorded in a variety of different codecs and timecode settings, often creating multiple files for a single shot.
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Each camera recorded with a 4GB limit per file and created a new file when needed. We filmed the interviews with three cameras. Each interview lasted much longer than normal due to the back-and-forth Farsi-English translations, which in turn created issues with some of our camera-generated files. The two missionaries traveling in the group, Bizhan and Ashkan Ussefi, were from Iran and primarily spoke Farsi. We followed Ussefi wherever he went, shooting in a variety of settings and environments. For this purpose, we used the Osmo Pocket’s integrated gimbal and a handheld Ronin-S gimbal for our Canon 7D. We often traveled by train and bus, so we captured a lot of footage on board public transportation, inside busy stations, and in close proximity to one another. We traveled around The Netherlands shooting interviews, footage, and b-roll for six straight days, capturing personal stories and examples of Ussefi’s work. The simplicity of the Osmo Pocket was a major bonus, as we planned to leave the camera with Ussefi so he and his son could continue making videos for outreach on social media. In the end, we utilized a 2.7k GoPro Hero 4, a DJI Osmo Pocket, and a Canon 7D to capture footage and tell Ussefi’s story. This increased the challenge, creating a need for mobile camera and lighting gear that could be deployed in a moment’s notice. We had few opportunities to set up a tripod or light our subjects with anything other than the sun. There were some serious restrictions on filming in certain locations, like churches and historical sites. We shot much of our footage on public transportation throughout The Netherlands. Every project is unique, so I hadn’t encountered an issue like we had telling Ussefi’s story. Without the right approach, audio and video can be difficult to sync, raw files can clog up a bin, and post-production can grind to a halt. Many productions, such as documentaries, compile massive stores of footage. The larger a post-production house gets, the more thought must be put into the workflow of getting raw footage cut into something worth sharing. We were limited to the use of existing equipment, but capturing a large amount of footage in a variety of shooting locations was paramount.Īs an editor for over 25 years, I know that different projects require different editing methods. Our subject was Bizhan Ussefi, a missionary who has dedicated his life to outreach in The Netherlands. In Summer 2019, I was given the wonderful opportunity to shoot and manage post-production for an upcoming documentary with Abundant Life Church. Bizhan Ussefi, lifetime missionary and subject of Abundant Life’s documentary.
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